Oh. My. Fucking. God.

Imagine, metaphorically speaking, that two high speed trains are careening towards each other on a unavoidable collision course. One train is Origin‘s ultra technical, brutal, but intelligent form of death metal. The other train is Sigh and their over the top orchestral symphonics and theatrics. BAM!!!! They collide, each train melting and melding into the other in a twisted, fiery, explosive wreckage of both styles.

So Italy’s Fleshgod Apocalypse have always had some form of classical, orchestral element in their top notch tech death metal, but on their intense  debut and last year’s blistering EP, it has mostly been used in controlled, transitional or introductory style here and there. But on Agony, its not tinkering keys or a violin moment here or there. The band has completely incorporated full on orchestration  into their death metal (strings, horns, woodwind, everything! The only thing missing s a full baroque choir), much like Scrambled Defuncts but much less discordant,  chaotic and unhinged. It’s much more epic, movie score-like and majestic, like a full Philharmonic Orchestra was backing up the band. If my Origin (or take any other top tier tech death metal act like Decrepit Birth, Obscura, Gorod, etc), meets Sigh (or Dimmu Borgir) analogy does not fully explain it, then I’m not sure how else to convey it…other than its absolutely fucking magnificent.

Those that have not see the video for the album’s first single ‘The Violation” should do so immediately, because basically the rest of the album is just as mind-blowing and over the top. From the dramatic,  movie quality introduction of “Temptation” to instrumental, breath catching closer “Agony” everything in between is sheer, unbridled, brilliance; almost relentlessly so — which may be a gripe for some. For me, and I imagine to most listeners, Agony will be a game changer; that rare modern classic that we’ll be talking about for years to come.

While each track certainly has  the same basic, merciless percussive template as heard on “The Violation”, and I imagine some will claim all the songs sound alike, there’s just enough variety and structure and tasteful melodic solos and bridges on the likes of ‘The Hypocrisy”, “The Imposition” ‘The Deceit” (yes, that that is a huge orchestral death metal breakdown about halfway though),  or “The Oppressing” to keep you listening for what will be next. Personally, I can listen to this album, over and over and over again and get goosebumps every single time or simply mouth ‘wow’ in silent admiration for every single song.

Be it the  above songs, the aforementioned segment of “The Deceit”, the stern, militant march and brief  female soprano of “The Egoism”, “The Violation”‘s unbridled fury, crippling, epic brilliance that starts  and ends “The Betrayal” (seriously, just…WOW! It brings a tear to my eye), or somber, restrained mood of ‘The Forsaking” (Beethoven’s “Moonlight Sonata” anyone?), my jaw never left the floor. The only other minor gripe I foresee with most listeners will be the occasional (mostly in a few choruses) clean, operatic croons an unhinged spoke words of bassist Paolo Rossi, but it’s not a deal breaker, and not as used on the album’s latter stages.

To sum it up again, Agony is truly a special, utterly mind blowing album and I’d be surprised if this isn’t my album of the year for 2011 when the year is all said and done.

Bra-fucking -vo!

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